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b. 3

composition: Op. 10 No 3, Etude in E major

b in AI

e1 in A (→FE→GE,EE)
..

The version of AI is already the second attempt to shape the inner voices in this place. Initially, Chopin wrote the following version, schematically developing the idea included in the previous bar: . In bar 11 Chopin deleted in AI also the second version, replacing it with a version which was eventually adopted in all analogous bars. 

category imprint: Differences between sources

b. 3

composition: Op. 10 No 4, Etude in C♯ minor

No sign in AI & FE (→EE2→EE3)

Arpeggio sign in GE & EE4
..

Lack of the arpeggio mark in FE (→EE2→EE3) may be explained with the correction of the part of the L.H., performed by Chopin in FE1 (see the adjacent note). Chopin, involved in changes in the structure and content of the chords, probably did not think of careful indication of their performance, considering arpeggios of such a broad chord to be obvious. Similarly in bars 11, 53 and 61. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 3

composition: Op. 10 No 4, Etude in C♯ minor

No sign in AI

Arpeggio sign in FE (→GE,EE)
..

The arpeggio mark before the first tenth chord of the Etude is, according to us, to be understood as a general indication, concerning all analogous situations (bars 11, 53 and 61). See also the next note.

category imprint: Differences between sources

b. 3

composition: Op. 10 No 4, Etude in C♯ minor

No slurs in AI

Slurs in FE (→GE,EE)
..

It is hard to determine whether the slurs were already in [A] or whether they were added in a proofreading of FE (→GE,EE). Anyway, the slurs of unquestioned authenticity in this first out of a few similar places – also bars 11, 53 and 61 – may be easily considered as valid also in the remaining ones, devoid of slurring.

category imprint: Differences between sources

b. 3

composition: Op. 25 No 1, Etude in A♭ major

No signs in AI & CDP

  in A

  in GE

  in EE

  in FE

Our suggestion
..

Chopin added the dynamic indication in this bar only at the time of preparing the Etude for print. Initially, he provided the f2 note with an accent (as in bar 2), yet eventually he chose a pair of   hairpins. However, the signs are imprecise – the arms of the first one are of different length, while the second seems to be shortened in order to avoid a possible illegible mergence of the sign with the note in the L.H. or the semiquaver beam in the R.H. (GE reproduced it in such a way). In the main text we suggest an interpretation of the hairpins of A based on the above analysis and comparison with FE and EE.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in GE , Deletions in A